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Pamphile's Macabre Paraphernalia (Apuleius, Met. 3 The Real Tools of Magic: Pamphile’s Macabre Paraphernalia (Apuleius, Met. 3,17,4-5) LEONARDO COSTANTINI Albert-Ludwigs-Universität Freiburg In this study, I will discuss how the description of the magical paraphernalia of the witch1 Pamphile in Apuleius’ Metamorphoses 3,17,4-5 is deeply influenced by the material culture of magic in Apuleius’ time.2 In order to do so, I will com- pare this passage with the descriptions of magical components in earlier literature and show how they differ from that in Apuleius’ Metamorphoses. Then, I will focus on this passage of the Metamorphoses and suggest that the magical tools mentioned therein feature in sources pertaining to real goetic practices in Greco- Roman times. Some methodological remarks are necessary, however, to understand the function that magic plays in ancient fiction and the extent to which these accounts may reflect real practices. When magic features in Greek and Latin literature – more specifically in poetry and in fictional narrative – it is characterised by dra- matic depictions of goetic practitioners, male and female, and their uncanny skills and performances. The purpose of such descriptions was to both impress and en- tertain the ancient readership in a way that may be compared to how people now- adays enjoy horror, fantasy and sci-fi. There is, however, a noticeable difference between contemporary western ideas of magic and those of a person living in the Greco-Roman world, since practising magic was considered a serious crime and was punishable either by death or by exile under the Lex Cornelia de sicariis et ————— 1 The modern English term ‘witch’ is used here for the sake of clarity to render the Greek and Latin terms μάγος, φαρμακίς, and maga, malefica, saga, strix, striga, and venefica. It is, however, necessary to bear in mind the ideas conveyed by this term do not necessarily overlap with the Greco-Roman imagery of these female practitioners of magic. For similar methodological remarks, see Paule 2014, 745, n. 1. 2 On the question of the materiality of magic, see Bremmer 2015, 7-19. Ancient Narrative, Volume 15, 75-88 https://doi.org/10.21827/5c643a8f3ae8f 76 LEONARDO COSTANTINI veneficis during the Imperial age,3 and this was the law under which Apuleius himself had likely been tried.4 Thus, Greco-Roman magic was not only relegated to fiction and quackery: although often despised and criticised,5 goetic practition- ers did exist and were genuinely believed to possess fearsome powers.6 It is, therefore, necessary to ask ourselves whether these literary descriptions of magic could reflect the real, contemporary practices or not. Gordon argues that fictional accounts, in the specific case of Augustan literature, had very little to do with the practice of the goetic magi and derived from stock-themes inherited from Hellenistic literature, and a memorable model would have been Theocritus’ Pharmakeutria.7 Nevertheless, although some earlier literary topoi could have re- mained influential, it is possible to argue for the presence of interconnections be- tween real magical practices and literary magic. As Ruiz-Montero points out, di- viding literary from real magic is problematic:8 classical authors enriched their dramatized descriptions of magic with details taken from contemporary goetic practices, as can be seen by comparing these accounts with evidence in the Papyri Graecae Magicae (PGM); this has been recently argued in Reif’s monograph, where he compares the prescriptions of the PGM with literary descriptions of magic from the Hellenistic period up until Lucan’s Bellum Civile.9 Apuleius’ Metamorphoses is probably one of the finest examples of how an ancient author could draw on the material culture of his time to enhance his narrative with grim details concerning magic. I shall now focus on a specific passage of Apuleius’ Metamorphoses, namely 3,17,4-5, which presents a description of Pamphile’s magical laboratory. This will enable us to observe how, by borrowing from the material culture of magic, Apuleius could outshine previous literary descriptions of magical materials – especially those by Horace, Lucan, and Petronius – and enrich the profile of the terrible Thessalian witch Pamphile, who was not only an expert in love-magic but in every noxious goetic practice, as her magical paraphernalia suggests. Some context first: in Metamorphoses 3, the ————— 3 Paul. sent. 5,23,15-18. 4 On the fact that this was the law under which Apuleius himself stood trial in AD 158/9, see Pellecchi 2012, 271-277, disproving the claims by Rives 2003, 313-339; 2006, 47-67; 2011, 70-108, who believes that the Lex Cornelia as preserved in Paulus’ Sententiae is a late-antique formulation. 5 E.g. Pliny’s contempt for magic in Nat. 30,17: ‘therefore let us be convinced that magic is unsteady, empty, and unsubstantial’ (proinde ita persuasum sit, intestabilem, inritam, inanem [sc. magiam] esse). Translations in this paper are mine, unless otherwise indicated. 6 Regarding the existence of goetic practitioners in Greco-Roman times, see Dickie 2001. 7 Gordon 2009, 209-228. 8 Ruiz-Montero 2007, 38-39. 9 See Reif 2016. The analysis in Graf 1997, 175-204 also offers an overview of possible connections between Theocritus and Lucan, and the PGM. THE REAL TOOLS OF MAGIC 77 protagonist Lucius returns to his host’s house in the Thessalian city of Hypata after having been laughed at by the entire city in a mock-trial for ‘slaughtering’ three inflated goatskins. Once in the house, Photis – Pamphile’s slave-maiden – secretly confesses to Lucius that the cause of his mock-trial was due to the magical performances of the expert ‘witch’ (saga) Pamphile, against whom Lucius had already been warned by his aunt Byrrhena.10 Photis reveals – increasing Lucius’ own curiositas11 about magic – that Pamphile, fallen in love with a Boeotian youth, had ordered her to steal a tuft of the youth’s hair to perform a rite of attraction; however, having been caught and threatened by a barber, Photis took instead the blonde hair of some goatskin bags, which Pamphile’s magic unnaturally brought to life. In order to perform this ritual, as Photis explains, the terrible saga needed to prepare her workshop, which is on a shingled roof open to the winds.12 Our passage runs as follows: Priusque apparatu solito instruit feralem officinam, omne genus aromatis et ignorabiliter lamminis litteratis et infelicium [n]avium durantibus damnis, defletorum, sepultorum etiam cadaverum expositis multis admodum membris: hic nares et digiti, illic carnosi clavi pendentium, alibi trucidatorum, servatus cruor et extorta dentibus ferarum trunca calvaria.13 ‘Firstly, she set up her unearthly workshop with the customary tools of magic, namely every type of herb and metal tablets with undecipherable inscriptions, and the desiccating remains of inauspicious birds, as well as several body parts taken from mourned and even buried corpses: here noses and fingers, there spikes dirty with the flesh of those who had been crucified, elsewhere the preserved blood of those who had been slaughtered, and mutilated skulls wrenched from the teeth of wild beasts.’ As I will argue below, such a vivid rendering of the materials employed in goetic magic is unprecedented in previous classical writings, and does not feature in the ————— 10 Met. 2,5,2-8. On the figure of Photis and Byrrhena, see May 2015, 59-74, and Frangoulidis 2015, 75-88, respectively. 11 On Lucius and his curiositas, see Leigh 2013, 136-150. 12 Met. 3,17,3. See the commentary by van der Paart 1971, 130-131. 13 Met. 3,17,4-5. The text which I print follows the edition by Zimmerman 2012, but presents the emendation infelicium avium in place of the transmitted navium, originally proposed by the French humanist Jean Passerat (1608, 436), which is defended with new arguments in Costantini 2017. 78 LEONARDO COSTANTINI Onos ascribed to Lucian.14 As I argue below, this description – rendered in very graphic tones for dramatic purposes – bears striking comparison with the magical paraphernalia employed by real goetic practitioners, and it was meant to make the readership shudder while increasing that morbid curiosity about the occult which also typifies Lucius, the protagonist of Apuleius’ Metamorphoses. Before analysing the sources that will enable us to assess how these tools were really employed by contemporary goetic practitioners, I shall compare Apuleius’ description with those of magical materials that can be found in Horace’s Epodes, Lucan’s Bellum Civile, and Petronius’ Satyrica. I have chosen to focus on these sources and to exclude the list of magical ingredients in Theocritus’ Pharmakeutria and Vergil’s Eight Eclogue, since their fearsome magical undertone is given by the ‘love-philtres’ (φίλτρα-venena), which are said to be as powerful as those by Circe, Medea, and Perimede,15 not by the components employed to concoct such philtres. These are, in fact, harmless elements such as barley,16 bay leaves,17 bran,18 wax,19 coltsfoot,20 a piece of a cloak,21 and a lizard22 in Theocritus; and frankincense,23 a ————— 14 In the Onos attributed to Lucian of Samosata, the presence of such magical details is lim- ited to the description of a fearsome witch (μάγος γάρ ἐστι δεινὴ, see Asin. 4) as she trans- forms herself into a nocturnal screech-owl by performing a ritual with the aid of an oil- lamp, two grains of frankincense, spells, and an ointment kept in a phial; see Asin. 12. On the attribution to Lucian and the relationship between the Onos and the other ass-stories, see Mason 1994. 15 Theocr. 2,15-16: φάρμακα ταῦτ’ ἔρδοισα χερείονα μήτε τι Κίρκας / μήτε τι Μηδείας μήτε ξανθᾶς Περιμήδας. In Verg. Ecl. 8 we find allusions to Medea (8,95) and Circe (8,70), but not to Perimede.
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